THE  FLOWER  ART 
OF  JAPAN 


BY     THE     SAME     AUTHOR 

JAPANESE 

FLOWER    ARRANGEMENT 

APPLIED  TO  WESTERN  NEEDS 

WITH  EIGHTY-EIGHT  ILLUSTRATIONS 


NEW   YORK:    JOHN    LANE   COMPANY 
LONDON:    JOHN  LANE,  THE  BODLEY  HEAD 


THE  FLOWER  ART 
OF  JAPAN 


BY 

MARY  AVERILL 

(KWASHINSAI    KIYOKUMEI) 

AUTHOR  OF 
JAPANESE  FLOWER  ARRANGEMENT 

WITH  129  ILLUSTRATIONS 


NEW  YORK:    JOHN    LANE   COMPANY 

LONDON:  JOHN  LANE,  THE  BODLEY  HEAD 

MGMXV 


COPYRIGHT, 
BY    JOHN    LANE    COMPANY 


THE  •PLIMPTON  'PRESS 

NORWOOD  -MASS-U-S-A 


TO  ALL   WHO   LOVE   FLOWERS 
SILENT    EXPONENTS   OF  THE   BEAUTIFUL 


INTRODUCTION 

SINCE  the  friendly  greeting  of  "Japan- 
ese Flower  Arrangement"  I  feel  justi- 
fied in  supplementing  and  completing 
the  subject. 

In  the  first  treatment  of  an  art  so  little 
known,  one  hardly  dares  venture  beyond  the 
rudiments.  Now,  however,  being  assured 
that  there  are  those  as  interested  as  myself, 
I  shall  endeavor  to  carry  them  farther  in 
this  delightful  study,  only  wishing  that  it 
were  possible  to  create  a  stronger  desire  on  the 
part  of  my  readers  to  apply  these  Japanese 
ideas  practically.  For  gradually  we  discover 
by  the  constant  study  of  our  flower  arranging 
that  we  are  beautifying  all  that  touches 
our  lives. 

The  difficult  problem  of  elimination  becomes 
simplified  and  we  find  our  possessions  in  the 
way  of  household  belongings  placing  them- 


INTRODUCTION 

selves  more  attractively  as  the  final  result  of 
closer  application  to  this  art. 

With  each  return  to  Japan,  I  have  longed 
to  become  a  convert  to  one  school  of  flower 
arrangement  in  particular.  Still  the  deeper 
I  probe  into  the  numerous  schools  I  find  it 
utterly  impossible  to  advocate  any  one  school 
exclusively.  There  is  good  and  valuable  in- 
formation to  be  found  in  them  all.  The 
various  schools  of  flower  arrangement  are  like 
the  different  creeds  of  the  Christian  religion: 
agreeing  in  the  essentials  and  only  disagreeing 
in  the  non-essentials;  the  points  of  difference 
creating  the  possibility  to  form  new  schools. 
On  occasions  I  have  found  myself  narrowing 
down  to  the  research  of  one  school,  when 
suddenly  I  have  had  my  attention  called  to 
some  principle  or  suggestion  from  another 
school,  so  practical  and  valuable  in  enhancing 
the  beauty  of  the  arranging  of  cut  flowers, 
that  in  spite  of  the  assurance  of  the  many  mas- 
ters at  whose  feet  it  has  been  my  privilege 
to  sit,  that  their  particular  school  contains 
all  the  virtues,  I  cannot  honestly  agree  with 
them.  I  have  narrowed  down  after  many 

C8] 


INTRODUCTION 

years  of  study  on  each  school,  to  a  very  small 
number  of  schools,  but,  should  I  attempt 
to  settle  upon  one  only  I  would  defeat  my 
purpose  and  pleasure  of  bringing  to  the  people 
of  my  own  land  the  best  and  most  helpful 
suggestions  in  this  Japanese  Flower  Art. 

AH  the  schools  can  be  divided  under  two 
h£&ds:  those  producing  wonderful  Decorative 
effects,  and  those  which  ^exhibit  natural  taste. 

The  two  schools  which  follow  nature  most 
closely  are  Ikenobu  and  Ko-Sbin-Ryu.  It 
is  to  these  two  schools  I  owe  my  greatest 
inspiration.  Both  of  these  schools  look  upon 
nature  as  the  most  helpful  guide  in  forming 
their  rules  and  producing  their  most  pleas- 
ing results.  Ikenobu  has  enjoyed,  and  I 
feel  deservingly,  unbroken  popularity  from 
700  A.D.  to  the  present  time. 

Whereas  Koshin  Ryu  has  lost  in  favor, 
there  being  only  one  Master  of  that  school 
now  in  Kyoto,  while  there  are  forty  teachers 
in  the  Ikenobu  school.  Although  this  Koshin 
Ryu  Master  is  remarkably  skilful,  he  has  few 
followers,  Ikenobu  being  the  most  flourishing 
school  of  the  present  day  in  both  Tokio  and 

[9] 


INTRODUCTION 

Kyoto.  Koshin  Ryu  is  no  longer  taught 
in  the  Ginkaku-ji  where  it  originated,  yet 
Ikenobu  still  is  being  taught  at  the  Rokakudo. 

Having  studied  Ko-Shin-Ryu  longer  than 
any  other  school,  I  have  always  felt  a  pride 
in  knowing  it  originated  in  the  Ginkaku-ji  so 
loved  by  Yoshimasa,  Japan's  most  famous 
patron  of  art.  I  regret  keenly  that  instruction 
has  been  discontinued  in  this  most  interesting 
temple. 

Yoshimasa  built  Ginkaku-ji  as  a  place  of 
retirement  after  abdicating  the  throne,  ac- 
companied there  by  his  two  favorites,  Soami 
and  Shuko,  and  by  this  famous  trio  Flower 
Arrangement  and  the  Tea  Ceremony  were 
raised  to  the  rank  of  fine  arts.  It  was  my 
great  privilege  to  visit  this  temple  last  summer 
with  the  Ko-Shin-Ryu  Master  before  men- 
tioned, and  sit  with  him  inside  the  enclosure 
which  holds  Yoshimasa's  image,  while  he 
made  a  very  beautiful  flower  arrangement, 
which  was  left  as  an  offering  in  front  of  this 
simple  wooden  figure. 

Exhibitions  of  Flower  Arrangement  are  held 
frequently,  much  as  the  exhibitions  of  paint- 


INTRODUCTION 

ings  are  given  in  this  country.  On  these 
occasions  all  schools  are  represented.  In  my 
last  visit  to  Japan  I  found  that  each  school 
had  developed  a  new  school,  known  as  Mon- 
tana, a  modern  departure  from  true  Japanese 
principles  and  an  attempt  to  follow  European 
and  American  styles,  which  is  anything  but 
pleasing.  Any  Japanese  now  taking  flower 
lessons  learns  with  the  Japanese  methods  the 
foreign  style,  the  result  being  more  careless 
and  less  beautiful  effects  in  his  Japanese  ar- 
rangements and  nothing  worth  while  in 
foreign  style.  This,  of  course,  is  due  to  the 
progress  of  Western  civilization,  as  the  people 
of  Japan  are  at  present  adjusting  their  lives, 
manners,  and  customs  to  those  of  Western 
peoples.  Yet  the  fact  remains  now,  as 
centuries  ago,  that  no  other  nation  so. 
genuinely  loves  flowers^. 

What  I  saw  only  a  few  months  ago  in 
Kyoto  proved  this  to  be  true. 

Walking  one  morning,  I  met  a  Japanese 
pulling  a  cart  heavily  laden.  I  saw  him  look 
intently  at  a  sluggish  stream  by  the  roadside. 
On  a  most  unattractive  pile  of  refuse  was 


INTRODUCTION 

lodged  a  spray  of  flowers.  His  cart  was  loaded 
in  such  a  manner  that  he  could  not  merely 
drop  the  shafts,  but  was  obliged  to  brace 
them  in  a  cleft  in  some  rocks  on  the  other 
side  of  the  road.  He  then  took  a  long 
stick  and  fished  out  the  flowers,  but,  as  he 
reached  over  to  take  them  in  his  hand,  the 
petals  all  fluttered  back  into  the  stream. 
He  simply  laughed  and  tossed  the  twig 
after  the  flowers. 

This  man  was  the  lowest  type  and  accus- 
tomed to  the  hardest  labor,  yet  even  to  him 
the  beauty  of  flowers  appealed. 

Is  it  strange,  therefore,  that  we  look  to  the 
Japanese  nation  for  a  perfect  arrangement  of 
the  flowers  they  so  truly  appreciate? 


CONTENTS 


PAGE 

INTRODUCTION 7 

I    CHOICE  OF  FLOWERS 19 

II     RULES  IN  RHYME 25 

III  FORMING  MENTAL  LINE  PICTURES 37 

IV  PRACTICAL  SUGGESTIONS 47 

V    ONE-FLOWER  ARRANGEMENTS 59 

VI     SHORT-STEM  FLOWERS 67 

VII    HANGING  AND  HOOKED  ARRANGEMENTS     ...  71 

VIII    BOAT  ARRANGEMENTS 83 

IX    NEW  AND  OLD  FORMS  OF  FLOWER  HOLDERS  .     .  105 

X    ARRANGEMENTS  IN  SHALLOW  VASES      .     .     .     .  109 

XI    IMPORTANCE  OF  BRANCHES 129 

XII    PROPER  USE  OF  FOLIAGE 141 

XIII  PROPER  PLACING  OF  FLOWERS 147 

XIV  FLOWER  PLACING  IN  JAPAN 157 

XV    COMBINING  DIFFERENT  VARIETIES  OF  FLOWERS  .  167 

XVI    FLOWERS  IN  BASKETS 181 

XVII    FLOWER  PRESERVATIVES 193 

XVIII     PROPER  USE  OF  VASES 197 

XIX    FLOWER  CEREMONY 201 

XX    SYMBOLISM  IN  FLOWER  ARRANGING 209 


LIST  OF  ILLUSTRATIONS 


Ceremonial  Arrangement Frontispiece 

PAGE 

Arrangement  Made  from  Left-over  Flowers 21 

Summer  Poem 29 

Autumn  Poem 31 

Winter  Poem 33 

Diagram  I 38 

Three-spray  Peony  Arrangement 39 

Diagram  2 40 

Three-spray  Camellia  Arrangement 41 

Diagram  3 42 

Arrangement  with  Unusually  Curved  Branch       ....  43 

Diagram  of  Nine  Lines 46 

Diagram  4 48 

Grasses  and  Oak  Leaves 49 

Diagram  5 50 

Five  Branches  of  Magnolia 51 

Diagram  6 52 

Poppies 53 

Diagram  7 54 

Small  Peonies 55 

One-flower  Arrangement 58 

One-flower  Arrangement  of  One  Iris .  01 

Memory  Arrangement ...           63 

Memory  Arrangement  Made  with  One  Camellia  ....  65 

Early  Spring  Flowers 69 

Gift  Flowers  Hung  High  ....           73 

Reeds  and  Chrysanthemums  in  Hooked  Vase       .     .     .     .77 

Wistaria  in  Hooked  Vase 79 

A  Rebellious  Branch  Brought  into  Balance 81 

Line  Pictures  of  Ships  Home-bound,  Anchored,  and  Out- 
ward-bound        87 

Line  Pictures  of  Ships  Stopping,  with  Cargo,  and  Becalmed  89 

Line  Pictures  of  Ships,  Swift-Sailing,  Sailing,  and  Coasting  91 

Star  Viewing  Boat 93 

Anchored  Boat  with  Ashirai  in  Shovel  Used  for  Bailing  «    .  95 

Home  Bound  Ship 97 

Outward  Bound  Ship  .           99 

Vase  Representing  Junk  Sail  and  the  Branches  for  Masts  .  101 


LIST  OF  ILLUSTRATIONS 

Sitting  Boat       .  103 

Diagram  of  Iris  and  Stones 112 

Iris  and  Stones 113 

Diagram  of  Lotus  Arrangement 114 

Lotus  Arrangement      . 115 

Suggestion  for  Grouping  Lilies 117 

Maple  in  Shallow  Vase 119 

Water  Diving  Plum 121 

Willow  with  Ashirai 123 

A  Variety  of  Pine  Growing  only  near  Water 125 

Omoto  and  Stones  .     .  127 

Branch  of  Old  Cherry  with  New  Shoots 133 

Wind-swept  Branch 135 

Plum  Branch 137 

Dead  Tree  and  Passion  Vine 139 

Offering  for  Shinto  Temple 145 

Hanging  and  Standard  Arrangements 149 

Standing  and  Water-growing  Groups 151 

Relative  Heights  of  Hanging  and  Water-growing  Arrange- 
ments       153 

Vine  and  Water-growing  Arrangements 155 

Tokpnoma  with  Shelves  and  Ornaments 159 

Quaintly  Shaped  Flower  Stands 161 

Screen-shaped  Frames 163 

Tokonoma  with  Hanging  Vase  and  Bon-Seki 165 

Plum,  Pine,  and  Bamboo 169 

A  Spring  Combination  of  Pine  and  Narcissus       .     .     .     .  171 

Pine  and  Chrysanthemums 173 

Five  Varieties  of  Flowers  . 175 

Several  Autumn  Flowers  in  One  Group 177 

Maple,  Autumn  Grass,  and  Chrysanthemums      .     .     .     .  179 

Basket  without  Handle 183 

Hanging  Basket 185 

Basket  Placed  on  Dai 187 

Basket  Improved  by  Use  of  Small  Dai 189 

Basket  Unusually  Turned 191 

Tokonoma  with  Empty  Vase  Ready  for  Flower  Ceremony  .  203 

Tools  Removed  from  Tray  and  Kakimono  Changed       .     .  207 

Sho-Chiku-Bai 211 

Symbolical  Arrangement 213 


[16] 


THE  FLOWER  ART 
OF  JAPAN 


THE  FLOWER  ART  OF 
JAPAN 

CHAPTER  ONE 
CHOICE  OF  FLOWERS 

THE  choosing  of  flowers  to  be 
arranged  is  as  important  as  the 
manner  in  which  you  are  to  group 
them.  When  it  is  possible  to  select  from 
one's  own  garden,  realizing  where  the  flow- 
ers are  to  be  placed  before  gathering,  the 
grouping  in  a  vase  afterwards  will  be  very 
rapid  and  satisfactory.  The  novice  in  this 
Japanese  system  will,  I  think,  be  amazed 
to  find  how  frequently  the  lines  which  were 
described  in  "Japanese  Flower  Arrange- 
ment" as  Heaven,  Man,  and  Earth  are 
found  to  be  natural  in  trees  and  flowers, 
so  that  no  bending  or  changing  of  line  will 
be  necessary. 

D*  3 


THE  FLOWER  ART  OF  JAPAN 

The  more  trained  in  line  the  eye  be- 
comes, the  quicker  is  material  selected  and 
put  into  place  with  just  a  little  balancing 
and  cutting  off  conflicting  or  defective  parts. 
This  eye-training  in  line  is  most  important 
and  it  is  according  to  the  degree  to  which 
this  faculty  is  developed  that  we  owe  the 
result  in  any  arrangement. 

Line,  in  flower  arranging,  as  in  all  other 
branches  of  Japanese  art,  has  reached  the 
highest  development.  What  can  be  sug- 
gested by  a  few  powerful  lines,  all  those 
familiar  with  Chinese  and  Japanese  art 
thoroughly  appreciate. 

If  possible  study  the  lines  of  the  com- 
plete growing  plant  before  attempting  to 
arrange  any  part  of  it,  never  forgetting 
that  nature  is  your  best  guide  and  master. 

If  it  is  the  branch  of  a  tree  to  be  used, 
have  the  leaves  very  small,  just  unfolding, 
and  if  a  flower,  in  the  tightest  bud,  just 
revealing  the  color  which  the  flower  is  to 
be.  Trees  and  flowers  arranged  before  they 
have  reached  full  develop!  ment  will  last 


Arrangement  Made  from  Left-over  Flowers 


CHOICE  OF  FLOWERS 

for  days  and  the  unfolding  of  leaves  and 
flowers  at  home  can  be  enjoyed  as  genuinely 
as  the  growing  plant  or  tree  from  which 
they  were  taken. 

Be  sure  to  cut  the  flowers  long  enough 
to  allow  for  bending  which  naturally 
shortens  the  stems  more  than  at  first  is 
realized.  Try  to  utilize  the  shorter  flowers 
or  twigs  that  were  cut  off  from  your  orig- 
inal arrangement.  These  can  be  used  in 
a  vase  of  smaller  proportion  where  long 
stems  will  not  be  necessary. 

The  Japanese  delight  in  these  after- 
results,  which  they  call  memory  arrange- 
ments or  reflections. 

When  gathering  flowers  to  work  with, 
consider  where  they  are  to  be  placed,  if 
high  or  low,  the  color  of  the  background, 
and  when  possible,  the  shape  and  color 
of  the  vase. 

Remember  that  you  can  manage  with 
a  very  few  flowers,  only  one  or  a  bud,  but 
you  must  have  an  abundance  of  foliage  to 
make  a  natural  and  satisfactory  result. 


THE  FLOWER  ART  OF  JAPAN 

Try  to  form  a  complete  composition  in 
your  mind  before  attempting  to  make  any 
arrangement.  What  is  meant  by  this  will 
be  explained  more  clearly  by  the  line 
pictures  in  a  later  chapter. 


CHAPTER  TWO 
RULES  IN  RHYME 

MOST  of  the  fundamental  ideas  in 
Flower  Arrangement  have  been  ex- 
pressed in  verse.  The  first  flower 
composition  made  by  Ikenobu,  the  priest, 
who  started  the  school  now  bearing  his 
name,  was  formed  from  azaleas  and  maple, 
which  after  gathering  are  put  together  in 
such  a  manner  that  the  scenery  of  Kamo- 
no-dan  Kyoto  was  represented.  From  this 
arrangement  he  evolved  nineteen  principles, 
which  are  the  origin  of  the  present  Ikenobu 
School,  never  more  than  nineteen  flowers 
being  used  in  that  style.  About  this  period 
a  poem  was  written: 

lye  no  ucbi  ni 
Miyako  no  nishiki 
Kaki  masete 
Hana  mo,  momiji  mo 
Hitotsu  nizo,  miru. 

Ca/j 


THE  FLOWER  ART  OF  JAPAN 

By  a  well  thought-out  arrangement  of 
flowers  or  trees  it  is  possible  to  bring  into 
a  small  space  in  a  room  all  the  charm  of 
some  exquisite  bit  of  natural  scenery. 
These  poems,  difficult  to  translate,  convey 
a  clearer  impression  when  left  in  literal 
prose.  The  poem  just  quoted  carries  in 
a  few  words  the  whole  substance  of  the  art 
of  flower  arranging.  Namely,  that  by  a 
good  arrangement  of  a  few  well-chosen 
flowers,  a  large  and  beautiful  place  may  be 
suggested. 

Another  poem  gives  the  three  main 
principles  and  what  they  symbolize.  This 
poem  is  always  committed  to  memory  by 
the  students  of  flower  arranging: 

Sasu  kame  no 
Hana  no  suga  tamo 
Onozu  kara 
Amatsu  cbiba  to  no 
Kokoro  yon  naru. 

The  poem   states:    Give  your  flowers   only 
natural   bends.     It  likens  the  central  prin- 
[26] 


RULES  IN  RHYME 

ciple  of  Heaven  or  heart  centre,  to  the 
heart  or  spirit  of  man.  This  part  being 
his  governing  centre  creates  his  thought 
actions  and  forms  his  principles.  So  like- 
wise the  central  spray  in  a  flower  ar- 
ranging shows  by  its  lines  the  natural 
characteristics  of  the  flower  or  plant  used, 
and  controls  the  shapes  of  all  the  other 
elements  of  the  group. 

,  Then  follow  four  poems  to  the  different 
seasons,  and  it  will  be  remembered  that 
the  season  of  the  year  has  a  great  influence 
over  the  lines  and  quantity  of  flowers  used.  ) 

SPRING  POEM 

Toki  wa  naru 
Matsu  no  mido  ti  mo 
Haru  kure  ba 
Ima  hitoshi  wo  no 
Ito  masare  keri 

Even  the  pine,  an  evergreen,  which  is 
supposed  to  be  the  same  all  the  year 
through,  becomes  more  energetic  and  a 


THE  FLOWER  ART  OF  JAPAN 

superior  color  in  the  spring  than  at  any 
other  season.  So  must  spring  flower  ar- 
rangements show  great  energy  of  line  and 
brilliancy  of  color. 

SUMMER  POEM 

Natsu  yama  no 
Sbigeri  masareba 
Kogakurete 
Atutomo  mienu 
Okanobe  no  kusa. 

The  beautiful  moss  on  the  rocks  is  entirely 
obscured  by  the  dense  summer  foliage  of 
the  trees  upon  the  mountain. 

From  this  has  been  worked  out  the  sys- 
tem of  summer  arrangements. 

Involved  to  us  it  may  appear,  but  to 
the  Japanese  it  is  full  of  suggestiveness. 
It  conveys  the  idea  that  all  summer  ar- 
rangements should  be  full  and  spreading, 
like  the  trees  upon  the  mountains  cutting 
from  view  all  the  smaller  beauties  of  rocks 
and  moss. 


A 


?  1*1 

i\  L 


Summer  Poem 


1 


1 


Aufumn  Poem 


Winter  Poem 


RULES  IN  RHYME 
AUTUMN  POEM 

Tokiwa  naru, 
Aoba  no  Yama  mo 
Aki  kureba 
Kotobazo  kaeru 
Samushi  kari  keru. 

At  the  end  of  summer  all  the  mountains 
with  their  wealth  of  greens  and  beauty  sigh 
quietly  and  alone  for  the  passing  season. 
Therefore  the  autumn  arrangements 
should  express  loneliness  and  be  simple 
and  straight  in  line. 

WINTER  POEM 

Haruka  naru 
Ikoma  no  Yama  mo 
Arawarete 
Kozueno  Juji  ni 
Kawaru  Kono  Kara. 

Mt.  Ikoma  begins  to  appear  as  the  sign 
of  winter,  and  takes  the  place  of  the  beauty 
of  the  dying  season. 


THE  FLOWER  ART  OF  JAPAN 

As  the  leaves  have  fallen,  it  is  now 
possible  to  see  the  lovely  form  of  Mt. 
Ikoma,  which  is  as  beautiful  in  its  way  as 
the  lost  glory  of  the  autumn.  This  gives 
the  key  to  winter  arrangements.  In  these 
groups  the  flowers  must  be  arranged  with 
wide  spaces  between  their  branches,  so  that 
whatever  is  back  of  them  may  be  seen 
through  the  lines  of  the  group:  as 
mountains  are  revealed  in  winter  through 
branches  of  dead  trees. 


[36] 


CHAPTER  THREE 
FORMING  MENTAL  LINE  PICTURES 

IT  will  be  found  far  easier  to  make  an 
effective  arrangement  of  flowers  if  you 
first  see  a  composition  and  then  work 
it  out,  as  the  following  line  diagrams  will 
illustrate.  Diagram  Number  One  shows 
how  this  may  be  carried  out.  Although 
there  are  three  sprays  of  peonies,  the 
composition  is  expressed  by  only  two  strong 
lines. 

The  third  line  or  Earth  spray  is  formed 
by  one  fully  opened  flower  and  a  bud,  but 
is  too  indefinite  to  be  depicted.  Short 
sprays  with  confused  lines  are  left  entirely 
to  the  imagination  as  they  do  not  in  any 
way  affect  the  general  outline  of  the 
composition. 

The  next  three-line  diagram  shows  the 
composition  of  three  magnolia  sprays. 

[57] 


\ 


Three-spray  Peony  Arrangement 


Diagram  2 


Three-spray  Camellia  Arrangement 


Diagram  3 


/    u>    <y    N 

f                                                                                                      -     r* 
i___ll.1      •  r.i<  i  •    >                                  ^"ii  i  •  ' 

r  .    i 

V 

! 

Arrangement  with  unusually  Curved  Branch 

THE  FLOWER  ART  OF  JAPAN 

Here  each  element  of  the  group  is 
strongly  defined,  as  each  principle  has  long 
and  clear  outlines. 

The  third  arrangement  has  been  evolved 
around  the  unusual  form  of  the  branch  of 
flowers  used  for  the  Man  element,  or 
second  longest  spray  appearing  at  the  left 
side.  This  is  an  interesting  arrangement 
in  that  it  expresses  the  Japanese  aptitude 
for  using  the  uncommon  form  whenever 
it  appears.  It  takes  considerable  experience 
to  work  these  freak-forms  of  nature  into 
well  balanced  groups,  so  that  this  particular 
illustration  should  be  found  very  helpful. 

As  line  is  the  most  important  factor  in 
the  Japanese  Flower  Art,  it  will  be  found 
that  the  line  pictures  without  the  con- 
fusion of  flowers  and  foliage  are  very 
helpful,  and  excellent  practise  for  the  actual 
working  out  of  any  flower  composition. 


[45] 


Heaven 


Earth 


Diagram  of  Nine  Lines 


CHAPTER  FOUR 
PRACTICAL  SUGGESTIONS 

IN  explaining  the  first  principles  of  the 
flower  art  of  Japan,   using  only  three 
or  five  sprays  of  flowers,  it  was  easy 
to    demonstrate    with    an    illustration    of  a 
complete    arrangement. 

In  the  more  advanced  work  that  would 
be  impossible,  and  I  have  endeavored  by 
the  aid  of  the  line  pictures  in  the  previous 
chapters,  and  now,  in  taking  each  flower 
of  the  group  separately  to  make  clear  the 
putting  together  of  a  complicated  arrange- 
ment. It  is  with  the  hope  that  all  who  are 
truly  interested  may  be  able  to  make  with- 
out difficulty  an  arrangement  of  any  num- 
ber or  variety  of  flowers  by  the  aid  of 
these  suggestions.  On  the  opposite  page  is  a 
nine  line  diagram  which  may  be  used  for  any 
variety  of  flowers  in  standard  vases,  as  the 
three  and  five  line  were  used  before. 

[47: 


If 


Diagram  4.     This  Arrangement  is  put  together  according  to  the  way  it  is 

numbered 


Crosses  and  Oak  Leaves 


2. 


I. 


Water  Lin 


Diagram  5.     Put  together  as  numbered 


Five  Branches  of  Magnolia 


Water  Lino 


Diagram  6.     Put  together  as  numbered 


Poppies 


_   Water  Lin* 


Diagram  7.     Put  together  as  Numbered 


Small  Peonies 


THE  FLOWER  ART  OF  JAPAN 

In  making  similar  arrangements  to  any 
of  these  described,  it  will  be  seen  by  fol- 
lowing the  numbers  that  in  every  instance 
the  Heaven,  or  highest  flower,  takes  a  cen- 
tral position.  That  the  different  Man  ele- 
ments are  put  into  place  first,  next  the 
Heaven,  and  last  those  sprays  or  flowers 
forming  the  Earth  or  lowest  branches  in  the 
group. 

Do  as  much  of  the  necessary  bending 
required  before  putting  your  flowers  into 
the  support.  Should  more  changing  of  line 
be  needed  after  the  flowers  are  in  the  vase, 
hold  the  stems  tightly  together  at  the 
base  with  one  hand,  while  with  the  other 
hand  you  rectify  all  mistakes.  This  pre- 
vents spoiling  your  parent  stem  or  base 
line,  here  all  branches  or  stems  must  unite 
and  appear  as  one. 

When  possible,  let  your  flowers  stand 
in  deep  water  for  several  hours  before 
using  them.  Always  have  your  kubari  or 
support  firmly  placed  in  the  vase  before 
you  commence  to  work. 

[56] 


PRACTICAL  SUGGESTIONS 

After  the  simple  rules  already  given, 
all  that  is  necessary  to  the  acquiring  of 
perfect  success  in  the  most  elaborate 
arrangements  is  practise. 


[57] 


One-flower  Arrangement 


CHAPTER  FIVE 
ONE-FLOWER  ARRANGEMENTS 

THE  one-flower  arrangements,  or 
"ichirin  ike,"  are  made  in  two 
ways. 

Either  by  starting  with  the  idea  of 
enhancing  the  exceptional  beauty  of  a  single 
flower  by  arranging  it  alone,  or  owing  to 
a  lack  of  material,  having  perhaps  only 
one  flower,  a  bud,  or  a  few  leaves  left  from 
an  elaborate  decoration.  If  the  latter  is 
the  case,  it  must  in  some  way  suggest  the 
fuller  arrangement,  forming  what  is  known 
as  a  reflection  or  memory  composition.  In 
such  groups  late  blooming  flowers  called 
Zanka  are  used.  A  single  bud  is  even 
better  than  a  full  blown  flower,  and  leaves 
alone  may  be  used. 

Any  variety  of  flowers  are  suitable  in 
an  ordinary  one-flower  arrangement. 

[59] 


THE  FLOWER  ART  OF  JAPAN 

In  Japan,  flowers  arranged  in  this  man- 
ner are  often  placed  on  the  lower  shelf  of 
a  stand,  as  the  illustrations  show.  Such 
arrangements  are  generally  standard,  but 
occasionally  one  flower  is  placed  in  a  hang- 
ing vase.  The  rules  for  the  arrangements 
just  described  are  not  as  rigid  as  in  the 
fuller  groups.  Frequently  it  is  not  even 
possible  to  suggest  the  three  simple  prin- 
ciples of  Heaven,  Man,  and  Earth.  Perfect 
balance  by  bringing  the  top  of  the  longest 
spray  directly  over  its  base,  and  a  desire  to 
make  the  most  of  the  beauty  of  the  flower, 
is  all  that  is  required. 


®  £ 
=^i  A 


One-flower  Arrangement  of  one  Iris 


I 


Memory  Arrangement 


Memory  Arrangement  Made  with  one  Camellia 


CHAPTER  SIX 
SHORT-STEM  FLOWERS 

SHORT-STEM  flowers  not  being  as 
decorative  as  long-stem  ones  are 
seldom  used. 

With  the  early  spring  varieties  no  at- 
tempt is  made  to  bring  them  into  the 
groups  so  common  with  other  flowers. 

They  are  not  cut  from  the  plant,  but 
are  taken  up  root  and  all  with  whatever 
grass  or  weeds  are  growing  near  to  them, 
and  placed  with  the  earth  in  which  they 
grew  into  low  bowls. 

The  principal  reason  we  see  so  few 
such  arrangements  in  Japanese  homes  is 
owing  to  the  fact  that  this  method  of 
treatment  consumes  little  time  or  thought. 
In  the  East  it  is  considered  a  real  privilege 
to  devote  any  amount  of  time  not  only 
to  the  arranging  of  flowers  but  to  any 

[67] 


SHORT-STEM  FLOWERS 

pastime  which  puts  them  in  close  touch 
with  the  beautiful  in  either  art  or  nature. 
Japanese  taste  has  always  been  stimulated 
by  an  earnest  observation  of  the  beauties 
of  Nature;  the  Japanese  watch  with  sensi- 
tive perception  her  constant  changes  of 
mood,  until  each  detail  of  her  handiwork 
becomes  an  imprint  on  his  mind  and  readily 
transferred  to  any  work  he  puts  his  hand  to. 
It  is  the  adherence  to  the  rules 
which  govern  Nature  that  are  so  prominent 
throughout  this  art,  that  attract  and  hold 
you  through  an  untiring  research. 


Early  Spring  Flowers 


CHAPTER  SEVEN 

HANGING  AND  HOOKED 
ARRANGEMENTS 

FOR  want  of  space  in  previous  writing 
on    this    subject,    it    was    impossible 
to  describe  the  real  charm  and  prac- 
ticability   of    hanging    arrangements,    so    I 
am    glad    of   the    opportunity    now    offered 
to   show   how   well   this   style   of  arranging 
flowers  is  adapted  to  western  interiors. 

Hung  out  of  the  danger  of  being  dis- 
turbed, we  feel  reconciled  to  devoting  more 
time  to  a  proper  placing  of  each  flower. 
An  unobstructed  background  which  is  in- 
dispensable to  bring  out  the  complete 
beauty  of  any  flowers  however  arranged, 
is  more  readily  found  on  a  wall,  by  a  win- 
dow, or  at  the  side  of  a  mantel  than  when 
placed  on  a  table  with  ornaments.  Vines 
may  be  kept  growing  in  such  vases  when 
hooked  in  the  good  light  of  a  window. 


THE  FLOWER  ART  OF  JAPAN 

In  the  following  cuts  are  given  the  line 
pictures    for   these   arrangements. 


When  bung  at  the  left  When  bung  at  tbe  right 

Although  the  hanging  vases  are  gen- 
erally used  for  vines,  nearly  all  varieties 
of  flowers  may  be  used  in  these  cpntainers. 
Trees  of  all  kinds  are  used  in  this  way. 
As  a  tree  grows  tall  and  above  all  other 
vegetation,  it  may  be  hung,  which  places  it 
in  a  higher  position  than  when  standing. 

Baskets  with  handles,  which  are  always 
available,  will  be  found  very  beautiful 
flower  holders,  even  when  the  handle  alone 
is  used  as  shown  by  the  cut  on  page  75;  a 
vine  of  any  kind  may  be  twined  about  the 
handle.  Bittersweet  or  morning  glories  are 
exquisite  in  this  way. 
17*1 


Gift  Flowers  Hung  High 


HANGING    AND    HOOKED    ARRANGEMENTS 

As  this  form  of  flower  holders  came  into 
use  in  Japan  with  the  idea  that  flowers 
presented  by  an  esteemed  friend  should  not 


Vine  about  handle  of 
basket 


Arrangement  of  Morning 
Glories  confined  to  ban- 
die  of  basket 


be  placed  where  they  could  be  looked  down 
upon,  they  were  raised  and  hung,  this 
accounts  for  sometimes  seeing  flowers  which 
would  be  naturally  placed  low  or  in  stand- 
ing receptacles,  hung.  The  illustration  of 
chrysanthemums  in  an  ordinary  basket, 


THE  FLOWER  ART  OF  JAPAN 

suspended   by   the   handle,    is   a   lovely   ex- 
ample  of   an    arrangement   of  gift   flowers. 
Vines   which    are   too    weak   to    arrange 
in  definite  form  and  which  would  hang  in 


2. 


W*ttr  I 


Put  together  as  numbered 


confused  masses,  should  have  a  frame  made 
of  some  slender  twigs  without  foliage,  which 
are  bent  or  take  the  prescribed  forms  of 
Heaven,  Man,  and  Earth.  Morning  glories, 

[7*] 


Reeds  and  Chrysanthemums  in  Hooked  Vase 


THE  FLOWER  ART  OF  JAPAN 

woodbine,    etc.,    are   always   found   clinging 
to  something. 


Put  together  as  numbered 

Thinking  that  by  taking  these  hanging 
arrangements  apart  and  then  putting  them 
together,  as  with  the  standard  groups,  it 
will  make  clearer  how  to  accomplish  what 
is  here  illustrated,  the  two  following 
diagrams  are  given. 

The  reeds  and  chrysanthemums  in  the 
hooked  vase  are  put  in  place  according  to 
the  numbers  in  the  diagram. 

In  making  an  arrangement  of  wistaria 
similar  to  the  one  illustrated,  it  will  be  seen 

[78] 


Wistaria  in  Hooked  Vase 


THE  FLOWER  ART  OF  JAPAN 

that  two  sprays  alone  form  the  three  prin- 
cipals; the  spray  marked  2  and  3  answers 
for  both  Man  and  Earth. 

By  looking  at  the  illustration  of  a 
hooked  gourd  shaped  vase,  in  which  camel- 
lias are  placed,  you  will  notice  that  the 
line  of  the  long  curved  branch  forming  the 
Heaven  is  natural.  The  placing  of  such  a 
branch  in  a  hanging  vase  of  irregular  form 
makes  it  at  once  harmonious  and  attract- 
ive. It  is  by  the  use  of  such  unusual 
forms  that  the  Japanese  bring  the  refresh- 
ment of  variety  into  their  floral  decorations. 
Always  keeping  to  the  regular  and 
symmetrical  forms  does  not  reproduce 
natural  effects. 


[So] 


A  Rebellious  Branch  Brought  into  Balance 


CHAPTER  EIGHT 
BOAT  ARRANGEMENTS 

ALTHOUGH  the  boat  arrangements 
are  usually  included  with  hanging 
compositions,  they  really  require 
more  space  to  disclose  their  unusual  beauty. 
Not  being  always  hung,  but  at  times  used 
as  standard  arrangements  are,  they  fill  a 
position  all  their  own  that  cannot  afford  to 
be  overlooked. 

The  object  in  giving  this  variety  of 
hanging  vases  greater  recognition  is  that 
they  may  be  described  in  a  manner  that 
can  be  followed  out  in  a  practical  way, 
and  be  as  commonly  used  as  standard  and 
water-growing  arrangements. 

As  line  pictures  always  afford  clearer 
examples  of  any  composition,  they  are  given 
here.  Realizing  to  the  fullest  extent  that 
there  are  few  in  my  own  land  who  would 


THE  FLOWER  ART  OF  JAPAN 

find  time  or  inclination  to  arrange  their 
flowers  so  that  they  represented  the  many 
phases  of  conditions  attending  ships,  still  I 
know  there  are  those  who  would  devote 
some  time  at  least  to  bringing  added 
charm  and  variety  into  our  own  rather 
circumscribed  flower  arranging. 

Boats  Hung  High  convey  the  idea  that 
the  boat  has  come  from  a  far-away  port. 
In  such  arrangements  the  flowers  are  small, 
to  show  only  as  distant  sails. 

Boats  Hung  Low  represent  a  boat  which 
has  returned  from  a  near-by  port.  In 
these  arrangements  the  flowers  are  large 
and  conspicuous,  as  the  sails  would  appear 
on  an  approaching  ship.  The  difference  in 
arrangement  in  these  boats  is  very  slight 
in  some  instances. 

The  quickest  way  of  discerning  the 
different  styles  is  by  noticing  the  position 
of  the  bow  and  stern;  this  is  shown  very 
plainly  in  the  Ire  Fune  or  homebound 
ship,  which  has  its  bow  turned  to  the  left, 
while  the  De  Fune  or  outbound  has  the 


BOAT  ARRANGEMENTS 

bow  to  the  right.  Closer  observation  will 
show  that  the  direction  of  lines  differs  in 
every  position;  even  the  length  of  the 
chain  or  cord  by  which  these  boats  are 
suspended  is  governed  by  the  style  used. 
The  streamer,  or  Nagashi,  is  of  great  im- 
portance and  is  supposed  to  represent  the 
rudder  or  the  long  oar  with  which  the 
Japanese  propel  their  boats,  and  which 
slopes  back  toward  the  stern  as  do  these 
long  streamers. 

The  highest  spray,  represents  the  mast 
and  the  other  lines  indicate  the  sails  whether 
flat  or  wind-filled.  It  must  be  remem- 
bered, however,  that  it  is  the  junk  and  its 
movements  that  the  boat  arrangements 
represent. 


Outward-Bound 
Line  Pictures  of  Ships  Home-bound,  Anchored,  and  Outward-bound 


Becalmed 


Line  Pictures  of  Ships  Stopping,  with  Cargo,  and  Becalmed 


A 


V 

Coasting 
Line  Pictures  of  Ships  Swift-sailing,  Sailing,  and  Coasting 


vT      , 


.  *.  • 


Viewing  Boat 


& 
M 

•fe 

* 


Home  Bound  Ship 


Outward  Bound  Ship 


Vase  Representing  the  Junk  Sail  and  the  Branches  for  Masts 


Sitting  Boat 


CHAPTER  NINE 

NEW  AND   OLD  FORMS  OF  FLOWER 
HOLDERS 

HAVING    had    unusual    opportunities 
for    collecting    flower     holders,    and 
considerable  practise  in  using  them, 
there  are  several  which  were  not  before  de- 
scribed that  I  should  like  to  advocate. 

There  is  one  in  particular  when  no 
sticks  are  to  be  had  large  enough  to  make 
the  usual  forked  kubari,  that  will  be  found 
very  useful.  This  can  be  made  from  the 
ends  of  the  stems  of  whatever  flowers  are 
being  used.  It  is  made  as  follows:  Split 
the  stem  of  the  flower  directly  in  half  for 
at  least  five  inches,  cut  from  some  flower 
not  to  be  used  several  stems  a  trifle  wider 
than  the  mouth  of  the  vase,  into  the  slits 
already  made  insert  these  shorter  pieces 
of  stem  horizontally  and  place  in  the  vase 
as  cut  shows.  In  some  instances  two  or 


THE  FLOWER  ART  OF  JAPAN 


three    flowers     may    be    placed     over    one 
horizontal  stem. 


Split  Stem 


Split  Stem  with 
stick  inserted 


Shows  bow  flower  and 
support  are  placed 
together  in  Vase 


There  fs  an  endless  variety  of  forms 
which  can  be  utilized  for  flower  holders  in 
flat  bowls,  as  has  been  shown  by  the 
numerous  new  shapes  which  have  appeared 
during  the  last  few  years.  The  frogs, 
crabs,  and  even  fish  do  not  appeal  so 
strongly  to  the  true  nature  lover  as  the 
holders  which  look  like  the  rocks  or  stones 
that  would  naturally  be  found  in  river  bed., 

[106] 


FORMS  OF  FLOWER  HOLDERS 


and  the  forms  of  which  are  so  varied  and 
beautiful. 


Here  is  an  ingenious  device  made  from  a 
section  of  bamboo  fastened  to  a  board; 
the  board  is  held  down  by  two  stones, 


one  on  either  end,  and  the  stones  alone 
appear  above  the  water,  hiding  the  holder. 
Then  the  little  iron  holders  for  one  flower, 
or  branches,  which  are  merely  hung  over 
tl  ?  edge  of  the  neck  of  a  vase. 


THE  FLOWER  ART  OF  JAPAN 


These  are  made  in  charming  natural  forms, 
as  well  as  the  simple  rings.     They  come  in 


many  sizes  so  that  they  can  be  fitted  to  all 
styles  of  vases,  are  quickly  adjusted,  and 
invaluable  in  working  out  exquisite  results. 


[108] 


CHAPTER  TEN 

ARRANGEMENTS  IN  SHALLOW 
VASES 

AS  all  those  who  are  interested  in 
arranging  flowers  have  discovered 
the  charm  of  placing  them  in  shal- 
low bowls,  I  feel  confident  that  more  sug- 
gestions from  the  Japanese  will  be  valued. 
The  first  example  in  this  style  is  shown 
by  the  group  of  iris.  Each  flower  is  drawn 
separately  and  numbered  so  that  the  ar- 
rangement can  be  easily  made  by  simply 
placing  the  flowers  in  position  as  they  are 
numbered.  Any  variety  of  flower  placed 
in  low  vases  may  be  treated  as  these  iris 
have  been.  Numbers  i,  2,  3,  5,  and  6 
belong  to  the  Man  group,  while  7,  8,  and 
9  belong  to  Earth  and  number  4  belongs 
to  Heaven.  The  addition  of  stones  at  the 
roots  is  always  attractive. 

[109] 


THE  FLOWER  ART  OF  JAPAN 

The  second  illustration  in  this  chapter, 
of  lotus,  requires  no  further  explanation, 
but  will  be  a  guide  in  making  similar 
arrangements. 

The  Japanese  use  trees  also  in  low  vases 
as  the  illustrations  show,  especially  such 
trees  as  grow  near  the  water,  and  maples, 
the  color  of  which  makes  such  enchanting 
reflections. 

In  old  books  will  be  seen  an  illustration 
of  a  plum  tree  where  one  branch  dips  into 
the  water  of  the  vase  and  out  again.  This 
may  become  of  greater  interest  when  the 
legend  of  its  origin  is  understood,  for,  as 
a  rule,  plums  are  not  arranged  in  low 
vases. 

So  Ho,  the  founder  of  the  Enshiu  School, 
going  on  a  hunting  expedition,  saw  a  large 
plum  tree,  one  branch  of  which  bent  into 
the  river  below,  the  extreme  end  rising 
upward  again,  covered  with  blossoms. 
Being  struck  with  the  beauty  of  the  effect, 
he  at  once  applied  the  suggestion  given 
by  nature  to  an  arrangement  of  plum 
[no] 


ARRANGEMENTS  IN  SHALLOW  VASES 

branches  in  a  shallow  water  vessel  in  his 
own  home.  This  arrangement  is  always 
known  as  the  Water  Diving  Plum.  The 
legend  is  given  merely  to  show  how  many 
of  the  arrangements  seeming  unnatural  to 
us  have  been  evolved  from  natural  forms 
in  some  such  way  as  just  described. 


Diagram  of  Iris  and  Stones  put  together  as  Numbered 


Iris  and  Stones 


Lotus  Arrangement.     The  LeaJ  is  Held  in  Place  by  a  Separate  Holder 


Suggestion  for  Grouping  Lilies,  Both  Beautiful  and  Natural 


Maple  in  Shallow  Vase 


Water  Diving  Plum 


Willow  with  Asbirai 


A  Variety  of  Pine  Growing  only  near  Water 


OR;'--  iA 


Omofo  and  Stones 


CHAPTER  ELEVEN 
IMPORTANCE  OF  BRANCHES 

IN  "Japanese  Flower  Arrangement"  it 
has  already  been  stated  that  branches 
are  used  as  flowers  in  this  art  and  are 
more  highly  valued. 

Just  a  glance  at  the  pictorial  art  of 
Japan  will  prove  how  powerful  a  place 
branches  fill  in  all  they  depict.  It  is 
not  strange  therefore  that  importance  is 
given  to  them  in  flower  arranging.  A 
branch  from  some  variety  of  tree  may  be 
had  at  any  season,  and  after  the  natural 
blooming  time  of  the  flowers  is  past, 
branches  from  the  pine  and  fir  trees  are 
used  almost  to  the  exclusion  of  all  else. 

The  rules  for  arranging  all  branches  are 
the  same,  and  as  before  explained,  proper 
balance  made  or  marred  these  arrangements. 

It   will   be   seen   that  branches   of  large 


THE  FLOWER  ART  OF  JAPAN 

diameter  are  highly  esteemed,  as  they  form 
a  more  perfect  representation  of  tree  trunks. 
As  large  branches  of  pine,  maple,  and  all 
the  fruit  trees  are  very  desirable  yet  diffi- 
cult to  cut  and  troublesome  to  bring  into 
the  correct  balance  without  spoiling  the 
leaves  or  flowers  growing  upon  them,  the 
use  of  dead  wood  previously  gathered  will 
overcome  such  difficulties.  Use  a  large 
piece  of  pine,  cherry,  plum,  etc.,  of  a  good 
shape  for  each  principal  of  the  group  you 
desire  to  make. 

These  branches  may  be  moss-covered 
to  indicate  age,  and  of  irregular  shape. 
Also  branches  broken  at  the  ends,  not  in 
a  clean-cut,  even  way,  but  as  though  twisted 
off  by  a  high  wind.  Put  small  flowering 
twigs  about  these  old  branches  as  though 
they  were  new  shoots  springing  out  of  a 
dead  tree,  for  example  a  large  gnarled  plum 
with  delicate  new  blossoms  shooting  forth 
apparently  from  the  old  tree.  Many  such 
arrangements  will  be  seen.  Vines  are  very 
lovely  used  with  such  old  wood. 


IMPORTANCE  OF  BRANCHES 

The  Japanese  keep  on  hand  beautifully 
shaped  branches,  which  may  be  collected 
when  convenient  and  placed  in  a  kubari 
with  a  few  tendrils  of  some  brilliant  vine 
clinging  to  them.  There  are  great  op- 
portunities for  individual  taste  in  such 
arrangements  which  can  be  made  rarely 
beautiful. 

If  only  we  of  the  West  could  be  taught 
the  charm  of  our  «own  tree  branches  for 
decoration,  a  wealth  of  material  would 
always  be  at  hand.  Especially  in  the  early 
spring  and  autumn  when  so  many  trees 
flaunt  such  wonderful  variety  in  color. 


Branch  of  old  Cherry  with  New  Shoots  Arranged  as  Interpreted  in  this  Chapter 


Wind-swept  Branch 


Plum  Branch 


Dead  Tree  and  Passion  Vine 


CHAPTER  TWELVE 
PROPER   USE  OF  FOLIAGE 

AS    the   foliage   in  an   arrangement    is 
considered  of  more  importance  than 
the   flowers,  no  surprise  will  be  ex- 
pressed  at  the  care  and  thought  given  to 
their  placing  and  turning. 

The  Japanese  in  preparing  for  a  guest 
are  very  particular  as  to  the  turn  of  the 
leaves.  If  leaves  alone  are 
to  be  used,  the  dark  side 
is  turned  toward  the 
guest,  while  the  light  side 
faces  the  host.  The  fol- 
lowing cut  of  a  camellia 
shows  plainly  the  strong 
contrast  in  color  between  the  front  and  back 
of  leaves.  A  distinction  is  also  made  between 
leaves  of  a  solid  color  and  those  which  are 
striped,  spotted,  or  variegated.  Preference 
is  given  to  fresh  green  of  a  solid  color;  the 
variegated  leaves  are  not  used  on  ceremonial 


THE  FLOWER  ART  OF  JAPAN 

occasions.     White  leaves  are  sought  by  poets, 
as  to  them  they  represent  clouds,  old  age,  etc. 

DYING    OR    LIVING    IN    FLOWERS    OR    LEAVES 

If  leaves  or  petals  turn  back  or  change 
their  color,  or  anything  out  of  the  natural 
happens,  they  are  known  as  dead.  As  in 
this  state  they  are  frequently  beautiful, 

they  are  sometimes 
used,  but  never  ;in  im- 
portant parts  of  the 
group.  All  natural 
conditions  of  leaves 
are  called  living  and  put 
in  prominent  places. 
Crown  Leaves  or  leaves 
growing  above  the 
flower,  as  illustrated  in  the  cut,  which  has 
two  crown  leaves,  such  are  found  oftener  in 
water-growing  flowers,  as  with  the  lotus  and 
some  lilies  the  flower  rests  on  the  surface  of 
the  water  and  the  leaf  rises  tall  above  it.  If 
leaves  grow  too  long  never  cut  with  scissors; 
break  or  tear  with  the  hand.  This  makes  it 
appear  like  natural  damage  of  the  wind. 


PROPER  USE  OF  FOLIAGE 

There  are  three  varieties  of  bamboo, 
the  leaves  of  which  are  called  Fish  Tail  (a), 
Gold  Fish  Tail  (6),  and  Flying  Goose  (c). 

Leaves  are  also  designated  as  dew  or 
rain  holding. 


In  the  spray  following  the  leaves  at  the 
top  are  dew  holders,  while  the  large  turned- 
over  leaf  at  the  left  shows  it  has  been  rained 
The  smaller  group  by  the  droop  of  nearly 


on. 


all  its  leaves  indicates  a  hard  rain. 


THE  FLOWER  ART  OF  JAPAN 

It    is    probably    due   to   the    fact 
that  the  Shintos  do  not  use  flowers  but 


only   leaves  in   their  shrines  that  so   much 
attention  has  been  given  to  foliage. 


C  144  ] 


-*/ 


* 

•c 


Offeringjor  Shinto  Temple.     Composed  of  Leaves  and  Peculiarly  Cut  Paper 


CHAPTER  THIRTEEN 
PROPER  PLACING  OF  FLOWERS 

THERE  are  so  many  different  styles 
in  which  to  arrange  flowers,  and  such 
a  variety  of  vases,  that  possibly  the 
most  helpful  suggestion  is  that  given  by 
the  old  flower  books,  which  advise  the  use 
of  personal  taste  in  adapting  the  style  of 
the  arrangement  to  the  vase  and  the  place 
where  it  is  to  be  used. 

There  are,  however,  a  few  other  theories 
in  regard  to  proper  placing  that  should  not 
be  overlooked. 

What  is  known  as  Nagashi  or  a  drooping 
style,  is  suitable  for  flowers  placed  on  high 
stands  and  mantel  shelves  and  in  rooms 
with  low  ceilings. 

The  flowers  in  a  low-ceilinged  room 
should  not  be  upright  and  too  high.  One 


THE  FLOWER  ART  OF  JAPAN 

trial  of  drooping  arrangements  in  old-fash- 
ioned rooms  will  prove  how  attractive  they 
are. 

Tall  and  upright  groups  should  be 
placed  on  the  eye  level,  bulbous  and 
aquatic  flowers  below  the  eye  level,  while 
vines  may  be  hung  and  at  any  height. 


1*481 


Hanging  and  Standard  Arrangements 


Standing  and  Water-growing  Groups 


Relative  Heights  of  Hanging  and  Water-growing  Arrangements 


Vine  one?  Wafer-growing  Arrangement 


CHAPTER  FOURTEEN 
FLOWER  PLACING  IN  JAPAN 

TO  those   unfamiliar  with  the   customs 
of  Japan,  the  way  in  which  flowers 
are    placed   in   their    homes   may  be 
of  interest. 

There  are  prescribed  places  in  which 
the  flowers  may  be  arranged,  and  only  in 
these  spots;  nothing  haphazard  is  per- 
missible. Built  into  every  room  is  a  place 
for  flowers,  and  they  are  seldom  put  else- 
where. Occasionally  hooked  or  hanging  vases 
are  hung  where  individual  taste  dictates, 
but  generally  flowers  are  placed  on  the  floor 
or  hung  on  one  side  of  the  tokonoma. 

Four  arrangements  in  a  room  would  be 
the  maximum.  In  the  houses  of  the  well- 
to-do  there  is  frequently  a  room  set  apart 
for  flowers  only.  Here  the  walls  are  hung 
with  beautiful  kakimono  or  scroll  pictures 
and  beneath  these  are  placed  flower  stands 
and  vases.  This  room  is  kept  constantly 


THE  FLOWER  ART  OF  JAPAN 

filled  with  flowers.  Each  day  the  wilted 
ones  are  replaced  by  fresh  arrangements. 
Here,  also,  the  flower  tools,  stands,  vases, 
and  everything  to  be  used  in  arranging 
the  flowers  are  kept. 

The  flower  stands  are  as  beautiful  and 
varied  in  form  as  the  vases;  their  lines  all 
so  well  thought  out  that  they  enhance  the 
beauty  of  whatever  they  hold.  One  of  the 
illustrations  shows  how  they  vary  in  height, 
so  that  a  long  trailing  spray  may  be  raised 
into  a  natural  position. 

Everything  in  connection  with  this 
Flower  Art  emphasizes  the  important  place 
flowers  occupy  in  the  every-day  life  of  the 
Japanese. 


1*581 


Tokonoma  with  Shelves  and  Ornaments 


Quaintly  Shaped  Flower  Stands 


Screen-shaped  Frames 


Tokonoma  with  Hanging  Vase  and  Bon-Seki 


CHAPTER  FIFTEEN 

COMBINING  DIFFERENT  VARIETIES 
OF  FLOWERS 

IT  is  frequently  asked,  do  the  Japanese 
never    use    more   than    one    variety    of 
flower  at  a  time?     They  combine  their 
flowers  as  often  as  do  other  nations,  and  in 
fact,  for  such  seasons  as  New  Year,  also  on 
all  congratulatory  occasions,  they  always  use 
two  or  more  varieties  in  combination. 

The  Sho  Chiku  Bai,  which  is  the  pine, 
bamboo  and  plum  together,  is  a  favorite 
New  Year's  decoration,  and  the  illustration 
will  show  one  of  these  arrangements.  Wild 
flowers,  both  of  the  spring  and  autumn 
varieties,  are  placed  together,  in  one  vase, 
arranged  as  they  grow,  field  flowers  and 
grasses  grouped  together. 

Branches  of  trees  with  spring  flowers 
at  their  roots,  such  as  is  illustrated  by  the 
pine  and  narcissus  arrangement,  are  very 


THE  FLOWER  ART  OF  JAPAN 

beautiful.  While  in  the  autumn,  the  use 
of  chrysanthemums  and  other  late  blooming 
flowers,  with  tree  branches,  produce  most 
charming  results.  In  combining  of  colors, 
it  is  a  well-known  fact  that  the  East  is 
more  daring  than  the  West.  However,  you 
will  notice  by  the  examples  here  given  that 
the  colors  of  the  flowers  used  are  very 
harmonious. 

You  can  see  how  the  arrangement  of 
brilliant  maple  leaves  and  yellow  chrysan- 
themums are  subdued  and  brought  together 
by  the  autumn  grasses  which  have  turned  to 
soft  browns  and  yellows.  This  is  truly  a 
wonderful  group  representing  all  the  glory 
of  autumn  but  prevented  from  being  start- 
ling by  the  use  of  the  grasses. 


Plum,  Pine,  and  Bamboo 


A  Spring  Combination  oj  Pine  and  Narcissus 


Pine  and  Chrysanthemums 


Five  Varieties  of  Flowers.     Note  the  way  the 
Morning  Glory  is  twined  about  the  Reed 


Several  Autumn  Flowers  in  One  Group 


Maple,  Autumn  Grass,  and  Chrysanthemums 


CHAPTER  SIXTEEN 
FLOWERS  IN  BASKETS 

IT  is  often  the  case  that  whatever  is 
simple  and  easily  procured  is  overlooked 
and  seldom  used.  This  apparently  has 
been  the  fate  of  the  many  exquisitely  beau- 
tiful forms  of  baskets  made  for  flowers. 
There  is  scarcely  a  conceivable  form  which 
has  not  been  made  in  this  material. 

The  Japanese  have  done  more  than 
their  part,  not  only  in  the  constant  use  in 
their  own  land,  but  they  have  also  ex- 
ported them  in  large  quantities  here.  No 
other  vases  but  those  of  bronze  can  equal 
them  for  color. 

Although  in  most  cases  the  flowers  are 
not  allowed  to  touch  the  handle  of  the 
basket  because  by  that  it  is  carried,  and 
handling  would  mar  their  freshness,  yet 
as  previously  described,  in  some  instances 


THE  FLOWER  ART  OF  JAPAN 

vines  are  twined  about  the  handle  alone. 
They  come,  as  the  illustrations  show,  in 
standard,  hanging,  and  are  also  fitted  with 
tin  and  may  be  used  for  water-growing 
plants.  They  came  to  Japan  from  China 
and  are  one  of  the  oldest  forms  of  flower 
holders. 

These  Chinese  makers  of  these  baskets 
sent  one  to  Yoshima  through  one  of  his 
retainers,  requesting  that  so  unworthy  a 
vase  should  be  placed  on  an  unusually 
beautiful  stand  to  enhance  the  plainness 
of  his  gift.  Yoshima  was  so  charmed  by 
its  simple  elegance,  that  he  ordered  it  placed 
without  stand  or  tray.  This  accounts  for 
seeing  baskets  used  so  frequently  without 
the  usual  stand. 


Basket  without  Handle 


Hanging  Basket 


Basket  Placed  on  Dai 


t 

ft 

* 


This  Basket  Improved  by  the  Use  of  Small  Dai 


Basket  Unusually  Turned 


CHAPTER  SEVENTEEN 
FLOWER  PRESERVATIVES 

MUCH    is    done    in    Japan    to    make 
the    flowers    remain    fresh    as    long 
as   possible    after   they    have   been 
arranged.     After  spending  many  months  in 
learning    what    would    best    preserve    each 
variety  of  flower,  I  came  to  the  conclusion 
that   most  of  the   formulas  given   me  could 
never  be   used   in   my   own  land,   both   for 
want  of  time  and  material. 

There  are,  however,  a  few  simple  aids 
which  were  not  given  before  that  are  easy 
to  apply  and  will  perceptibly  lengthen  the 
life  of  flowers.  First  are  given  a  few  of 
the  methods  which  seem  too  complicated 
to  be  employed  by  the  pressed-for-time 
Westerner. 


THE  FLOWER  ART  OF  JAPAN 

To  PRESERVE  LOTUS 

This  flower  is  very  difficult  and  must 
be  treated  immediately  after  picking,  or 
it  cannot  be  preserved.  In  gathering  the 
flowers  and  leaves  they  must  be  cut  under- 
neath the  surface  of  the  water.  While 
arranging,  the  stems  must  be  held  all  the 
time  in  water.  When  the  proper  length 
of  the  stems  has  been  determined,  the 
blossoms  and  leaves  are  protected  by  paper 
and  the  ends  of  the  stems  are  put  in  boil- 
ing water  until  they  become  white;  after 
this  they  are  plunged  into  cold  water  where 
they  are  left  until  the  entire  length  of 
stems  are  cold.  Next  the  kosho  misu,  or 
summer  medicine,  the  formula  of  which  is 
given  below,  is  inserted  by  a  pump  into  the 
stem  of  each  leaf  or  flower  separately,  the 
flowers  then  being  placed  in  cold  water  for 
three  hours  before  the  arrangement  may  be 
completed. 

A  much  simpler  way  of  preserving  lotus 
is  to  cut  the  stems  underneath  the  water, 


FLOWER  PRESERVATIVES 

and  smear  the  end  of  each  stem  with 
sealing  wax  before  exposing  it  to  the  air; 
wrap  stems  in  paper  to  carry  home.  Noth- 
ing else  is  really  required. 

SUMMER  MEDICINE 

Water       i  sho        =    i  qt,  i  pt. 
Mog'usa  i  go          =   il  oz. 
Sansho     i  shaku    =  teaspoon 

Boil  together  until  only  one  quarter  of 
liquid  remains.  After  all  this  trouble,  the 
flowers  will  last  for  an  astonishingly  long 
time  and  the  leaves  for  fully  a  week.  Other 
methods  are  more  elaborate. 

AH  water-growing  plants  may  be  kept 
fresh  longer,  if  a  little  salt  is  forced  into 
the  stems,  and  then  they  are  stood  in  warm 
water  until  used.  If  the  weather  is  very 
hot,  let  stand  in  lukewarm,  very  weak  tea. 

Placing  flowers  in  a  weak  solution  of  tea 
will  make  it  possible  to  keep  them  for  some 
time  without  being  kept  in  water. 

The   most  valuable   aid  in   keeping  the 


THE   FLOWER  ART  OF  JAPAN 

flowering  fruit  branches  fresh,  even  if  in 
full  bloom,  is  by  bruising  the  bark  of  the 
branches  where  they  will  be  under  water. 
This  will  make  cherry,  apple,  dogwood, 
etc.,  last  a  remarkably  long  time. 


[ip6] 


CHAPTER  EIGHTEEN 
PROPER   USE  OF  VASES 

THE  flower  containers  of  Japan  are 
innumerable,  and  made  of  almost 
every  kind  of  material.  It  is  gen- 
erally conceded  that  the  Kwabin,  a  long- 
necked  vase,  was  the  most  ancient  form. 
This  vase  required  an  arrangement  of 
considerable  height,  that  was  difficult  to 
balance,  and  led  to  the  use  of  the  broader, 
lower  vases  now  so  common  and  brought 
into  use  correspondingly  lower  compositions 
of  flowers. 

Large  Mouthed  Vases.  Vases  which 
have  a  very  wide  opening.  The  flowers 
must  not  touch  the  edges  of  the  opening 
unless  placed  high;  if  on  the  eye  level  or 
below,  flowers  must  stand  higher  than 
opening. 

Square     Vases.     Flowers    must    not    be 


THE  FLOWER  ART  OF  JAPAN 

turned  at  angles  but  in  graceful  curves. 
If  square  vases  are  stood  on  a  stand  or  a 
table  it  must  be  a  round  one. 

Round  Vases.  Flowers  may  be  turned 
in  angles  and  stood  on  square  stands. 

Vases  with  Handles.  By  this  is  meant 
the  small  handles  which  project  at  the 
sides,  known  in  Japan  as  ears.  Branches 
or  flowers  must  never  touch  these  handles. 

How  to  Wet  Vessels  to  Represent  Dew. 
It  is  considered  very  complimentary  when 
expecting  a  guest  to  have  not  only  the 
flowers  wet,  as  though  covered  with  dew 
and  freshly  gathered,  but  the  receptacle 
also.  This  effect  is  accomplished  with  bam- 
boo and  bronze  vases  by  plunging  the 
whole  vase  in  cold  water,  which  causes 
beads  of  water  to  settle  on  the  outside. 
Porcelain  vases  are  never  treated  in  this 
way. 

In  Japan  it  would  not  do  to  use  a  flower 
vase  in  the  spring  which  had  been  used  all 
winter.  Vases  change  with  the  flowers. 

Spring  Vases  are  of  medium  size.     When 


PROPER  USE  OF  VASES 

standard  vases  are  used  they  must  be  tall 
and  slender.  Summer  vases  for  water-growing 
things  must  be  as  shallow  as  possible. 

Summer.  Standard  vases,  very  wide- 
mouthed  and  not  high.  Low  vases,  very- 
wide. 

Autumn.  Porcelain  receptacles  are  more 
used,  boat-shaped  being  very  popular  at 
this  season. 

Winter  Vases.  In  winter  standard  vases 
are  used  almost  entirely.  They  are  very 
tall  and  straight  in  shape. 

The  ways  of  caring  for  the  vases  are 
too  elaborate  to  describe,  but  it  may  be 
useful  to  know  how  to  prevent  bamboo 
vases  from  splitting.  These  vases,  which 
are  so  attractive,  will  never  break  if  a  few 
drops  of  sake  or  sherry  are  put  in  the  water, 
or  if  the  water  is  changed  entirely  every 
day.  They  should  be  dried  out  thoroughly 
every  two  weeks,  but  never  by  steam  heat 
or  the  sun. 

The  form,  color,  size,  and  decoration  of 
all  flower  vessels  is  selected  with  great 


THE  FLOWER  ART  OF  JAPAN 

care  in  reference  to  the  flowers  to  be  used. 
There  are  certain  combinations  of  vase  and 
flowers  which  have  to  the  Japanese,  besides 
artistic  value,  certain  virtues  given  these 
different  combinations  by  Yoshimasa.  For 
example,  a  vase  made  from  old  wood  hold- 
ing a  twining  vine  expresses  aspiration, 
Cboko-tei.  Serenity  is  expressed  by  a  hang- 
ing bronze  boat  filled  with  white  chrysan- 
themums, which  suggests  a  ship  with  a  full 
cargo  in  port. 

All  these  quaint  fancies  help  to  bring 
about  a  perfect  harmony  of  flowers  and 
vase  which  is  never  lost  sight  of  in  Japanese 
floral  decoration. 


[200] 


CHAPTER  NINETEEN 
FLOWER  CEREMONY 

THERE  is  a  regular  ceremony  of  ar- 
ranging   flowers,    almost    a    counter- 
part    of     the     Cha-no-yu     or     Tea 
Ceremony,   not  perhaps  of  general  interest, 
but   proving   the   importance   given   to   this 
art. 

This  ceremony  like  that  of  Cha-no-yu 
is  studied  to  develop  the  power  of  con- 
centration. The  knowledge  of  such  cere- 
monies puts  us  in  closer  sympathy  with  the 
people  of  Japan,  while  it  prevents  on  both 
sides  many  embarrassing  situations. 

First  comes  the  ceremony  of  viewing 
the  flowers,  which  have  been  already  ar- 
ranged. After  entering  and  greeting  your 
host,  you  can  approach  only  to  within  a 
certain  distance  of  the  tokonoma  or  re- 
cess where  the  flowers  are  placed.  The 

[  201  ] 


THE  FLOWER  ART  OF  JAPAN 

proportions  of  a  room  are  told  in  mats, 
not  by  feet  as  in  other  lands;  a  room  being 
seven,  nine,  or  eleven  mats.  So  you  take 
your  seat  one  mat  or  about  three  feet  in 
front  of  the  tokonoma  and  from  this  position 
make  your  bow  to  your  host.  Then  you 
begin  a  close  scrutiny  of  the  flower,  looking 
first  to  discover  if  the  plant's  natural  growth 
characteristics  are  well  brought  out,  if  each 
principle  is  strongly  developed,  if  the  season 
of  year  is  expressed.  Notice  if  the  variety 
of  flowers  used  has  been  suggested  by  a 
poem  or  painting  of  flower  on  the  kakimono, 
admire  the  beauty  of  the  vase,  its  form, 
the  material  from  which  it  is  made  and  the 
design,  also  see  if  flowers  and  vase  are  in 
harmony,  not  only  color  harmony  but  also 
line  and  proportion.  After  this  you  are 
able  to  judge  of  the  ability  of  your  host. 

Another  view  of  the  flowers,  accompanied 
by  a  word  or  two  of  praise,  and  you  with- 
draw farther  away  from  the  flowers  and 
nearer  your  host.  It  is  not  necessary  to 
give  all  the  details  of  this  ceremony,  but 


Tokonoma  with  the  Empty  Vase  ready  /or  Flower  Ceremony.     The 
Character  Represents  the  Guest's  Seat 


FLOWER  CEREMONY 

as  the  rules  observed  in  viewing  flowers 
are  the  most  important  and  helpful  in 
making  an  arrangement,  I  give  this  portion 
of  the  ceremony  more  fully  than  otherwise 
I  should  have  ventured  to. 

After  giving  much  time  and  attention 
to  admiring  the  flowers  arranged  by  the 
host,  the  guest  is  asked  to  make  an  ar- 
rangement, but  he  asks  to  be  excused,  plead- 
ing what  is  called  a  poor  hand,  meaning  he 
is  not  skilful.  However,  after  repeated  in- 
vitations he  volunteers  to  do  the  best  he 
is  capable  of,  realizing  it  would  be  rude  not 
to  conform  to  the  desire  of  his  host,  even 
in  spite  of  his  poor  hand.  The  host  then 
acknowledges  his  kindness  by  a  profound 
bow,  and  brings  forth  a  flower  vase  and 
stand  which  are  placed  in  the  tokonoma, 
also  a  beautiful  lacquer  tray  on  which  are 
the  flower  tools,  a  variety  of  kubari,  or 
supports,  a  kakin  or  white  napkin  which 
must  always  be  cut  the  proper  size  and 
placed  under  the  tools  on  the  tray.  Then 
the  "te-joro"  or  water  pot  is  placed  also 

[205] 


THE  FLOWER  ART  OF  JAPAN 

on  a  tray,  as  shown  in  the  illustration.  At 
this  point  more  bows  are  exchanged  and 
the  guest  begins  to  work.  The  different 
articles  are  taken  from  the  tray  in  regular 
order  and  in  a  prescribed  way.  The  kakin 
is  folded  and  unfolded  as  in  the  Cha-no-yu, 
the  ceremony  proceeds  slowly  and  with  a 
precision  possibly  trying  at  first  to  the 
nerves  of  a  Westerner,  yet  a  novelty  and 
charm  remain  that  make  you  return  after 
such  an  experience  thoroughly  refreshed  in 
mind. 


Tools  Removed  from  Tray  and  Kakimono  Changed.     The  Guest  Draws 
Closer  on  Commencing  Arrangement 


CHAPTER  TWENTY 

SYMBOLISM  IN  FLOWER 
ARRANGING 

THE  keen  enjoyment  of  symbolical  de- 
signs   in   this    Flower    Art   is   shown 
by    the    wonderful    details     of    such 
decorations.     The    shapes    into    which    the 
flowers   are  bent,   as   well   as   the   forms   of 
the  vases  and  flower  stands,   represent  ob- 
jects which  have  been  made  familiar  to  all 
through    history,    legend,    and    romance. 

Besides  the  intense  fondness  of  nature 
constantly  referred  to,  the  Japanese  also 
possess  a  love  of  the  humorous  and  an 
almost  restless  desire  for  variety.  This  fond- 
ness for  variety  is  nowhere  more  strongly 
shown  than  in  the  unsymmetrical  balance 
of  forms  in  flower  arranging. 

These  symbolical  groups  do  not  represent 
this  art  in  its  simple  pure  form,  and  there- 

[209] 


THE  FLOWER  ART  OF  JAPAN 

fore  are  not  so  highly  valued  as  those  forms 
which  take  nature  as  their  guide.  Through 
a  longing  to  create  something  new,  and  a 
remarkable  judgment  regarding  the  fitness 
of  things,  these  symbolical  arrangements 
have  been  developed.  They  are  frequently 
more  grotesque  than  beautiful  and  are  used 
at  large  gatherings  to  promote  talk  and  a 
closer  scrutiny  than  would  generally  be 
given  by  masses  of  people  to  the  simpler 
but  more  exquisite  compositions. 

That  all  symbolical  arrangements  are 
not  grotesque  is  shown  by  the  common  and 
beautiful  composition  known  as  Sho-chiku- 
Bai,  a  combination  of  pine,  bamboo,  and 
plum,  which  is  used  at  New  Year  and  for 
wedding  ceremonies.  In  Chapter  Fifteen 
there  is  given  a  beautiful  example  of  this 
combination.  Here  is  an  uncommon  and 
grotesque  arrangement.  The  pine  at  the 
top  in  the  bronze  bowl  is  tied  with  a  cord, 
which  always  signifies  a  gift  or  offering;  the 
figure  forming  the  standard  and  holding  the 
bowl  has  a  bamboo  design  on  his  kimono, 


Sbo-Cbiku'Bai 


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Symbolical  Arrangement 


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SYMBOLISM  IN  FLOWER  ARRANGING 

while  the  line  of  his  figure,  with  extended 
foot,  corresponds  to  the  principal  lines  of  a 
flower  arrangement.  The  plum  holds  the 
highest  position. 

These  three  trees  have  woven  about 
them  pretty  fables  which  secure  for  them 
great  favor  from  both  old  and  young.  The 
pine  and  the  bamboo  are  both  popularly 
believed  to  possess  an  almost  supernatural 
longevity,  as  well  as  to  hold  a  beneficial 
influence  over  mankind.  The  plum  is  looked 
upon  as  sacred.  All  the  idols  in  the  temples 
and  private  dwellings  are  decked  with 
branches  of  ume  or  plum,  the  symbol  and 
herald  of  spring. 

The  contrast  between  the  gnarled  age- 
worn  trunk  and  the  delicate  fresh  blossoms 
suggests  to  the  imaginative  Japanese  hun- 
dreds of  allegories,  such  as  the  renewal  of 
youth  in  the  heart  of  decay;  the  victory 
of  hope  over  despair,  etc.,  etc.  It  is  all  this 
which  endears  the  Sho-Chiku-Bai  to  the 
hearts  of  the  people. 

In  the  illustration  of  an  arrangement  of 


THE  FLOWER  ART  OF  JAPAN 

pine  with  an  arrow  in  the  center,  notice  the 
shape  of  the  vase,  which  is  supposed  to 
represent  a  crane,  also  a  symbol  of  long 
life,  and  much  venerated  by  the  people, 
for  in  olden  times  nobody  was  allowed  to 
shoot  one  of  these  birds  without  an  order 
from  the  emperor.  The  stand  beneath  the 
vase  forms  a  tortoise  which  means  happiness, 
long  life,  and  also  good  luck;  the  inserted 
arrow  forms  a  protection  against  prey  or 
enemy. 

It  would  be  possible  to  go  on  indefinitely 
describing  these  symbolical  arrangements, 
but,  as  they  are  merely  attractive  methods 
of  suggesting  history  and  legend  only  known 
to  comparatively  few  out  of  Japan,  they 
can  be  of  little  aid  to  the  student  of  Flower 
Art  in  other  lands. 


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